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A.I. Artificial Intelligence

  • 2001
  • PG-13
  • 2h 26m
IMDb RATING
7.2/10
315K
YOUR RATING
POPULARITY
1,280
40
Haley Joel Osment in A.I. Artificial Intelligence (2001)
Theatrical Trailer from Warner Bros. Pictures
Play trailer2:13
3 Videos
99+ Photos
DramaSci-Fi

A highly advanced robotic boy longs to become "real" so that he can regain the love of his human mother.A highly advanced robotic boy longs to become "real" so that he can regain the love of his human mother.A highly advanced robotic boy longs to become "real" so that he can regain the love of his human mother.

  • Director
    • Steven Spielberg
  • Writers
    • Brian Aldiss
    • Ian Watson
    • Steven Spielberg
  • Stars
    • Haley Joel Osment
    • Jude Law
    • Frances O'Connor
  • See production, box office & company info
  • IMDb RATING
    7.2/10
    315K
    YOUR RATING
    POPULARITY
    1,280
    40
    • Director
      • Steven Spielberg
    • Writers
      • Brian Aldiss
      • Ian Watson
      • Steven Spielberg
    • Stars
      • Haley Joel Osment
      • Jude Law
      • Frances O'Connor
    • 2.2KUser reviews
    • 133Critic reviews
    • 65Metascore
  • See more at IMDbPro
    • Nominated for 2 Oscars
      • 17 wins & 71 nominations total

    Videos3

    AI: THE SOMNIUM FILES - nirvanA Initiative
    Trailer 1:39
    Watch AI: THE SOMNIUM FILES - nirvanA Initiative
    A.I. Artificial Intelligence
    Trailer 2:13
    Watch A.I. Artificial Intelligence
    A Guide to the Films of Steven Spielberg
    Clip 2:31
    Watch A Guide to the Films of Steven Spielberg

    Photos147

    Jude Law, Haley Joel Osment, and Jack Angel in A.I. Artificial Intelligence (2001)
    Jude Law and Haley Joel Osment in A.I. Artificial Intelligence (2001)
    Jude Law and Ashley Scott in A.I. Artificial Intelligence (2001)
    Jude Law, Haley Joel Osment, and Jack Angel in A.I. Artificial Intelligence (2001)
    Jude Law and Haley Joel Osment in A.I. Artificial Intelligence (2001)
    Haley Joel Osment, Frances O'Connor, and Sam Robards in A.I. Artificial Intelligence (2001)
    Jude Law, Haley Joel Osment, and Jack Angel in A.I. Artificial Intelligence (2001)
    Haley Joel Osment and Frances O'Connor in A.I. Artificial Intelligence (2001)
    Haley Joel Osment in A.I. Artificial Intelligence (2001)
    Jude Law in A.I. Artificial Intelligence (2001)
    Jude Law and Clara Bellar in A.I. Artificial Intelligence (2001)
    Jude Law and Haley Joel Osment in A.I. Artificial Intelligence (2001)

    Top cast

    Edit
    Haley Joel Osment
    Haley Joel Osment
    • David
    Jude Law
    Jude Law
    • Gigolo Joe
    Frances O'Connor
    Frances O'Connor
    • Monica Swinton
    Sam Robards
    Sam Robards
    • Henry Swinton
    Jake Thomas
    Jake Thomas
    • Martin Swinton
    William Hurt
    William Hurt
    • Prof. Hobby
    Ken Leung
    Ken Leung
    • Syatyoo-Sama
    Clark Gregg
    Clark Gregg
    • Supernerd
    Kevin Sussman
    Kevin Sussman
    • Supernerd
    Tom Gallop
    Tom Gallop
    • Supernerd
    Eugene Osment
    Eugene Osment
    • Supernerd
    April Grace
    April Grace
    • Female Colleague
    Matt Winston
    Matt Winston
    • Executive
    Sabrina Grdevich
    Sabrina Grdevich
    • Sheila
    Theo Greenly
    • Todd
    Jeremy James Kissner
    Jeremy James Kissner
    • Kid
    Dillon McEwin
    • Kid
    Andy Morrow
    • Kid
    • Director
      • Steven Spielberg
    • Writers
      • Brian Aldiss
      • Ian Watson
      • Steven Spielberg
    • All cast & crew
    • Production, box office & more at IMDbPro

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    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      Stanley Kubrick worked on the project for two decades before his death, but along the way, he asked Steven Spielberg to direct, saying it was "closer to his sensibilities." The two collaborated for several years, resulting in Kubrick giving Spielberg a complete story treatment and lots of conceptual art for the movie prior to his death, which Spielberg used to write his own scenario. Contrary to popular belief, Spielberg claims he introduced many of the darker elements into the story, while Kubrick's main contribution consisted mostly of its "sweeter" parts. In a 2002 interview with movie critic Joe Leydon, Spielberg indicated that the middle part of the movie, including the Flesh Fair, was his idea, whereas the first forty minutes, the Teddy bear, and the last twenty minutes were taken straight from Kubrick's story. Ian Watson, who wrote Kubrick's original treatment, confirmed that even the much-criticized ending, assumed by many to be a typical Spielberg addition, was "exactly what (he) wrote for Stanley, and exactly what he wanted, filmed faithfully by Spielberg."
    • Goofs
      Much of the film's early action takes place in Haddonfield, New Jersey. New York City is subsequently shown to be under water. Haddonfield's elevation (81 feet) is lower than that of New York City (87 feet), and it is near both the Atlantic coast and a river leading to the ocean, so Haddonfield should be under water too.
    • Quotes

      [last lines]

      Narrator: [narrating, as David lays next to Monica in bed] That was the everlasting moment he had been waiting for. And the moment had passed, for Monica was sound asleep. More than merely asleep.

      Narrator: [David holds Monica's hand, closing his eyes] Should he shake her she would never rouse. So David went to sleep too. And for the first time in his life, he went to that place... where dreams are born.

    • Crazy credits
      Sentient Machine Therapist ... JEANINE SALLA Assistant to Mr. Chan ... LAIA SALLA Toe-Bell Ringer ... KATE NEI Cybertronics - Room 93056 ... CLAUDE GILBERT Sentient Machine Security ... DIANE FLETCHER Covert Information Retrieval ... RED KING These are characters from the AI alternate-reality game that was connected to the release of the film, and was played over the Internet. Several of the TV and cinema trailers for AI contained clues for game players, including the name Jeanine Salla listed in the credits at the end of the first trailer. This was the way into the game. The room number given in Claude Gilbert's credit is a further clue to game players.
    • Alternate versions
      For the U.S. theatrical release, the Warner Bros. logo appeared before the Dreamworks logo at the beginning of the film, and the poster credits said, "Warner Bros. and Dreamworks Pictures present." Since the U.S. version's home video/DVD rights are owned by Dreamworks, the Dreamworks logo at the beginning of the movie appears before the Warner Bros. logo, and the back of the box's cover art says, "Dreamworks Pictures and Warner Bros. present."
    • Connections
      Featured in Siskel & Ebert: A.I.: Artificial Intelligence/The Fast and the Furious/Dr. Dolittle 2/The Princess and the Warrior (2001)
    • Soundtracks
      What About Us
      Written by Al Jourgensen, Paul Barker, Max Brody and Ty Coon (as Deborah Coon)

      Produced by Al Jourgensen and Paul Barker with Robert Ezrin (as Bob Ezrin)

      Performed by Ministry

    User reviews2.2K

    Review
    Review
    Featured review
    Frustrating
    Being a fan of both Kubrick and Spielburg, this movie was a surprising miss. It tries real hard, but gets confused and lost.

    I've read that Kubrick originally worked on this project before Spielburg picked it up. I don't know to what extent each actually worked on filming, but it sure does feel like two different directors worked on this movie - which is problem # 1.

    Both have a unique style that do not mix well. Kubrick is a master at disciplined contemplation of a moral issue while Spielburg is a master at spinning a wonderfully entertaining yarn. This film tries to do both and it just doesn't work.

    The first act of the film, which to me feels entirely Kubrickian, is great. We are immediately immersed in a moral conundrum. The pit is deep, dark, poignantly adorned with characters against a somber stage that compels us to engage the material. It also is very much in the style of Kubrick: sets, lots of master shots, slow moving and ponderous "photography in motion." The ambience is there to serve the story in every detail. If this was Spielburg's homage to Kubrick, well done. If this was Kubrick's work, wel l, it was right on target. (I really miss his work.)

    The characters are drawn clearly if not archetypically and draw us unabashedly into the ring of moral discourse which we achingly yet eagerly embrace.

    Then, the story that is being constructed is completely abandoned in the second act as the main character (boy robot) is taken completely out of the setting that's been developed to this point and we embark on an odyssey of sorts. I spent most of the second act wondering what was going to happen in the plot that was being developed in the first act. We never find out.

    From this point on, the movie is all Spielburg. Fanciful staging, lots of effects, the obligatory allusion to the holocaust and gut-wrenching turmoil for our little hero and his friend. This is a huge contrast to the beginning of the story and is so different that it really feels like a whole different movie. Following the sublime Chardonnay of Kubrick with the super-charged Frappucino of Spielburg is unsettling and frustrating. For example, the staging in the first act is dominated by polished wood floors, furniture that is both kitsch and futuristic and smoky corporate offices. The second act is pretty much Back to the Future meets Thunderdome. The two have their place - but not in the same movie!

    Where the first act compels us to consider the matter, the second act throws us against the wall, puts a gun to our head and screams, "listen to me!"

    By the third act, I had really lost interest. I never quite got over the abandonment of the original story and didn't really feel like getting involved in the second one - both because it wasn't as interesting and because I didn't want to be cheated twice in two hours.

    The end of the third act is really where the movie should have stopped. It was sad, pitiful and left us with the core moral issue of how we tend to implement an idea without thinking of the consequences.

    But, no, here comes the fourth act - and the other major problem with this movie. Epilog, coda, call it what you want, the ending was tacked on and was just horrible. More face time for the FX folks and some really trite, contrived and irrelevant dialog from robots about the space-time continuum. Really, who cares? It's just an awkward plot device and you roll your eyes and ask "Wha--?" all at the same time. The second ending, as I like to call it, attempts to fulfill the demand for emotional conclusion that the odyssey portion of the film has built up yet fails to do so. "Whatever" comes to mind. I bet this was done in response to test screening.

    Still, I'm glad I saw this movie. It has some great moments, compelling subject matter and Osment puts in a truly great performance. Just don't look for coherent plot and a sensible story line.
    helpful•79
    48
    • mjl1966
    • Sep 18, 2002

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    FAQ5

    • What disease did Martin have?
    • What kind of creatures are those things in the ending?
    • What character did Meryl Streep play?

    Details

    Edit
    • Release date
      • June 29, 2001 (United States)
    • Countries of origin
      • United States
      • United Kingdom
    • Official site
      • Official Facebook
    • Language
      • English
    • Also known as
      • A.I.
    • Filming locations
      • Oxbow Park - 3010 SE Oxbow Parkway, Gresham, Oregon, USA
    • Production companies
      • Warner Bros.
      • Dreamworks Pictures
      • Amblin Entertainment
    • See more company credits at IMDbPro

    Box office

    Edit
    • Budget
      • $100,000,000 (estimated)
    • Gross US & Canada
      • $78,616,689
    • Opening weekend US & Canada
      • $29,352,630
      • Jul 1, 2001
    • Gross worldwide
      • $235,926,552
    See detailed box office info on IMDbPro

    Technical specs

    Edit
    • Runtime
      2 hours 26 minutes
    • Color
      • Color
    • Sound mix
      • DTS-ES
      • Dolby Digital EX
      • SDDS
    • Aspect ratio
      • 1.85 : 1

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